9,833 research outputs found

    Pembelajaran Ear Training Berbasis Teknologi dalam Meningkatkan Musikalitas

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    Ear training atau aural skills adalah latihan keterampilan untuk mengidentifikasi nada melalui kegiatan mendengarkan musik. Penerapan keterampilan ini biasannya dilakukan dengan cara dikte musik secara lisan atau tertulis. Sedangkan teknologi berupa seperangkat komputer atau laptop dengan aplikasi software yang telah dirancang khusus untuk pembelajaran ear training di Program Studi Penyajian Musik FSP ISI Yogyakarta. Media teknologi ini digunakan untuk membantu dosen dalam menyampaikan materi ajar dalam kelas pembelajaran ear training. Penelitian ini bertujuan, pertama, menemukan formulasi tepat dan terbaik terhadap unsur-unsur musik, yakni : interval, trinada, ritme, melodi dan akor/harmoni, dan mendeskripsikannya sebagai bahan Pembelajaran Ear Training di Prodi Penyajian Musik FSP ISI Yogyakarta. Kedua, membuktikan bahwa Pembelajaran Ear Training Berbasis Teknologi ini bermanfaat besar bagi dosen dan mahasiswa. Data-data diperoleh antara lain, dari hasil pembelajaran pada semester-semester awal karena penelitian ini difokuskan untuk materi semester III. Untuk memperoleh data yang lebih akurat, maka dilakukan depth interview langsung kepada mahasiswa, kemudian data dipilah-pilah sesuai kategorisasi permasalahan dan menganalisis situasi pembelajaran ear training yang dihadapi mahasiswa sebagai informan.AbstractTechnology-Based Ear Training to Improve Musicality. Ear training or aural skills are skills training to identify tone through listening to music. These skills are customarily applied by music dictation orally or in writing. At the same time, the technology is in the form of a computer or laptop with software applications designed specifically for teaching ear training at the Music Performance Studies Program FSP Institut Seni Indonesia Yogyakarta. Media technology assists the faculty in delivering teaching materials in classroom teaching ear training. First, This study aims to find the suitable formulation and the best musical elements, namely: interval, triad, rhythm, melody and chord/harmony, and described it as learning material ear training at the Music Performance Studies Program FSP Institut Seni Indonesia Yogyakarta. Second, prove that Ear Learning Technology Based Training benefits faculty and students greatly. The data obtained, among others, of the learning outcomes at the beginning of semesters because the research was focused on the material in the third semester. To get more accurate data, the depth interview is conducted directly with the students, and then, the data is sorted according to the categorisation of problems and ear training, analysing learning situations students face as informants.Keywords: ear training; technology; musicalit

    Korelasi Antara Kemampuan Ear Training dengan Akurasi Intonasi Permainan Biola Mahasiswa Jurusan Musik ISI Yogyakarta

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    Penelitian ini bertujuan untuk mengetahui seberapa besar korelasi antara kemampuan ear training dengan akurasi intonasi permainan biola peserta didik instrumen biola di jurusan musik ISI Yogyakarta. Hipotesis yang diuji: terdapat korelasi positif antara kemampuan ear training dengan akurasi intonasi biola. Penelitian ini dilakukan pada Februari sampai Maret 2016 dengan metode kuantitatif pendekatan korelasional. Partisipan dalam penelitian ini berjumlah 33 mahasiswa instrumen biola. Instrumen dalam penelitian ini berupa tes. Teknik analisis data yang dipergunakan adalah deskripsi data dan korelasi Product Moment. Penelitian ini meggunakan piranti lunak (software) yaitu SPSS Statistics 21. Penelitian ini menyimpulkan terdapat korelasi positif antara kemampuan ear training dengan akurasi intonasi biola. Kata kunci : biola, intonasi biola, ear training

    A Handbook for Graduate Students Teaching Aural Skills

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    The purpose of this thesis was to prepare new graduate students to teach ear training courses. Relevant pedagogical materials were reviewed to gauge what resources are currently available to help new graduate students teach ear training and what additional resources are needed for this task. A survey was created through Qualtrics to investigate the selection, responsibilities, and training of the Graduate Teaching Assistants who would teach ear training. The results of the survey indicated that there is no consistency in how Graduate Teaching Assistants are prepared to teach at different institutions and that, alarmingly, many receive absolutely no training whatsoever. The review and survey informed the construction of a training handbook for new Graduate Teaching Assistants teaching ear training. The handbook provides a philosophical and pedagogical background on teaching and provides tools and activities that Graduate Teaching Assistants can use in their ear training classes

    THE APPROACH OF TEACHING EAR TRAINING FOR UNIVERSITY STUDENT: IN A CASE OF PRIVATE INTERNATIONAL UNIVERSITY IN THAILAND

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    The study presents a brief summary of the approach in teaching ear training for university student. The study reveals methodology and steps in teaching ear training for the student who have a different level of musical experience, knowledge, and background. The study also mentions other approaches in which ear training are taught outside the university and why other approaches are not taught in the case of a private international university in Thailand.

    Ear training 2

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    Modul ini merupakan bahan acuan dalam kegiatan belajar mengajar peserta didik pada Sekolah Menengah Kejuruan bidang Seni dan Budaya (SMK-SB). Modul ini akan digunakan peserta didik SMK-SB sebagai pegangan dalam proses belajar mengajar sesuai kompetensi. Modul disusun berdasarkan kurikulum 2013 dengan tujuan agar peserta didik dapat memiliki pengetahuan, sikap, dan keterampilan di bidang Seni dan Budaya melalui pembelajaran secara mandiri

    Investing in Ear-training

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    Considering Best Practices in Technical Ear Training

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    Technical Ear Training (TET) is a new approach to preparing audio students for the professional environment. Systematic training develops the listening skills of student engineers and advances them as sensitive listeners. However, the current educational landscape lacks a nationally recognized curriculum that addresses specific characteristics of technical ear training. These characteristics include frequency identification (both boosts and cuts), gain, phase shift, delays, reverb times, and dynamics parameters. Targeted ear training methods can help students refine their technical listening skills and gain an increased technical vocabulary. This paper investigates multiple approaches to technical ear training, including data from an actual class using some of the methods presented in the paper; and it argues for a multi-faceted approach to ear training using new training software, analytical exercises, and headphone/speaker standards. The teaching model I applied in my professional practice offered a one-semester TET program that included frequency boosts and cuts identification with both pink noise and music. Results of the in-class assessments, online quizzes, and exams indicate an improvement with identifying frequency boosts and cuts in both music and pink noise. These data indicate that students are ready for new listening challenges, and that +10dB boost and -10dB cuts of pink noise can be removed by mid semester

    Temperament Systems Influence Emotion Induction but not Makam Recognition Performance in Turkish Makam Music

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    We tested how induced emotions and Turkish makam recognition are influenced by participation in an ear training classes, and if either is influenced by the temperament system employed. The ear training class was attended by 19 music students and was based on the Hicaz makam presented as a between-subjects factor in either unfamiliar Turkish Original Temperament (OT, pitches unequally divided into 24 intervals) or familiar Western Equal Temperament (ET, pitches equally divided into 12 intervals). Before the and after the class, participants listened to 20 music excerpts from five different Turkish makams (in both OT and ET versions). Emotion-induction was assessed via GEMS-25, and participants were also asked to identify the makam that was present in the excerpt. The unfamiliar original temperament was experienced as less vital and more uneasy before the ear training class, and recognition of the Hicaz makam increased after ear training classes (independent of the temperament system employed). Results suggest that unfamiliar temperament systems are experienced as less vital and more uneasy. Furthermore, being exposed to this temperament system for just one hour does not seem to be enough to change participants’ mental representations of it or their emotional responses to it

    Volume 06, Number 08 (August 1888)

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    Biographical Sketch of John S. Van Cleve Mental Grasp in Pianoforte Playing Letter from Mr. Emery Ear Training Touch and Tone Neglect of Ear Training Recent Idea Hint for Executive Musicians American Compositions in the Class and Concert Roomhttps://digitalcommons.gardner-webb.edu/etude/1318/thumbnail.jp

    Philosophy of Music Education

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    A philosophy of music education refers to the value of music, the value of teaching music, and how to practically utilize those values in the music classroom. This thesis explores the philosophies of Emile Jacques-Dalcroze, Carl Orff, Zoltan Kodaly, Bennett Reimer, and David Elliott, and suggests practical applications or their philosophies in the orchestral classroom, especially in the context of ear training and improvisation. From these philosophies, the author develops their own personal philosophy of music education, most broadly defined by the claim that music is key to experiencing and understanding feelingful experiences
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